The Owl Service - Tied to the Land The Owl Service

2026 SEES THE OWL SERVICE CELEBRATE 20 YEARS SINCE ITS FORMATION, AND FOLLOWING ON FROM THEIR ACCLAIMED CAREER-SPANNING RETROSPECTIVE 'ALWAYS WE ARE DESTROYED' COMES 'TIED TO THE LAND', THEIR FIRST ALBUM OF NEW MATERIAL FOR OVER A DECADE.

“...a folk trail that meanders from traditional forms into more boldly experimental territory, from acappella to deliciously dark psychedelia.” - UNCUT magazine

“Steven Collins has consistently been both ahead of the game and best-in-class when it comes to reinterpreting traditional songs... The Owl Service emerge as an English Espers on ‘The Rolling of the Stones’ and their stunning gothic take on ‘Lyke Wake Dirge.” - SHINDIG! magazine

“The soundtracks of pagan-themed TV and cinema are romantically re-pointed in darkened glades lit by icy electric lead guitar and phosphorescent drones. Light on the clog dancing, and heavy on the psilocybins, Garland Sessions is a vivid re-imagining of the finest moments of the early British folk rock movement.” - STEWART LEE

TIED TO THE LAND comprises nine traditional songs, two instrumental folk-ambient interludes, an obscure cover of a song based on a Cornish folk tale, and a body count higher than the average slasher film. While the album provides the usual healthy dose of fuzz-fuelled garage-folk, it also sees the band exploring new territory with elements of jazz, prog, and early music. Apart from a few exceptions the band chose to record lesser-sung songs for TTTL, drawing from the repertoires of Shirley Collins, Midwinter/Stone Angel, Michael Raven & Joan Mills, Ray Fisher, Joan Baez, Sarah Mackem, Toni Arthur and Brenda Wootton. The air of 1994 also hangs heavy over the record, with band leader Steven Collins stating that during the recording process, other than the folk songs which provided the source material, he was entirely immersed in 'White Birch' by Codeine, 'I Could Live in Hope' by Low, and 'WhatFunLifeWas' by Bedhead. The influence of mid-nineties slow-core is particularly evident on the songs 'The Trees They Do Grow High', Female Rambling Sailor, and 'Bonny at Morn'.

TTTL sees the Owl Service melding the best aspects of their three previous studio albums and in turn creating their strongest body of work to date, showcasing an assuredness not seen previously. Steven Collins' arrangements and instrumentation sound more confident than ever, thanks in no small part to the arrival of new singers Dorothy Chappell and Rebecca Leivers. Chappell (delicate yet strong, with a crystalline, bell-like clarity) and Leivers (earthy and authentic, like a trad folk Kate Bush) are polar opposites as singers, yet they perfectly compliment both each other, and the intricate, multi-layered arrangements, taking the music of The Owl Service to a whole new level.

As always, the band retains its strong DIY stance, eschewing all outside influences, producing the album at home themselves and releasing it on their own Hobby-Horse imprint. Augmenting the current line-up of Steven Collins, Dorothy Chappell and Rebecca Leivers is Julian Overall (tenor and soprano saxophone) and Joolie Wood (violin and recorder).